We invite you to come for a coffee and listen to the invited artists who will discuss their work, research and ongoing projects with the Rencontres Internationales programming team. This is an informal and ideal opportunity to address the work of the artists in the programme before the screening.

Framing the activities of a group of lighthouse spotters against the uncertain future faced by Irish lighthouses, An Illustrated Guide to Lighthouse Spotting idles with common documentary conventions in a kind of epistemological dilettantism, whereby the diseased triumvirate of rhetorical development, drama and realism is inoculated by mild incoherence, mundanity and idiosyncratic fancy.

Mike Hannon works as an independent artist, and as a freelance documentor for creative sectors and the visual arts. His previous pieces have included both conventional, TV documentary and experimental work.

Daniel kÖtter HASHTI Tehran

Doc. expérimental | mov | couleur | 59:45 | Iran | 2016

Hashti, in most traditional houses in Iran, is a octagonal space of distribution and circulation to direct the person towards the various parts of the house, the private (andarouni) and semi-public (birouni) reserved for the reception from abroad and the access to spaces of service.
Based on the idea that Tehran itself represents a house, so to speak the inner circle of The Islamic Republic of Iran, the outskirts of the city become the space of transition between inside and outside, between urban and non-urban. Thus the film and discursive project HASHTI Tehran looks at four very different areas in the outskirts of Tehran: the mountain of Tochal in the north, the area around the artificial lake Chitgar in the West, the construction of social housing called Pardis Town in the far east and the neighbourhood Nafar Abad at the southern edges of the city. By combining Road movie and architectural documentary and by inverting the techniques of inside and outside shots the film HASHTI Tehran portrays Tehran through its peripheral spaces.
Background
„Segregation“ and „privatization“, „security“ and „control“ are core terms of urban transformation in the developping cities of the 21st century around the globe. Its contested counterparts are „public“ or „open space“, „access“ and „citizenship“. All these concepts seem stuck in the negotiation between aspiration of new liberal economies trying to connect to a global construction and business boom on the one and a tendency of preserving a shared public sphere for all groups of society within the urban area on the other hand. HASHTI tries to shift this focus to areas where the controlling force of urban development seems to lose its influence, where definitions get blurry and fluid: the edges and peripheries, those contact zones, where city and landscape, nature and construction meet. Can a citizen who leaves the city for recreational or other purposes, still be called a citizen? Which societal function does he take on, which political role does he play in the moment where he enters or lives in the periphery of a city?
Administrative aswell as geographical city borders divide space into inside and outside, into what belongs and what is beyond. The relation of those spaces on both sides of the border is therefore not symmetrical. The definitional authority is on the side of the city. The city would always determine the use and formation of space beyond its limits in a stronger way than the countryside would determine the urban space. One of the reasons for this is the fact that the city produces things, that it has to exclude from its centre, in order to guarantee the functionality of the living together: waste, dead corpses, criminals and socially marginalized. The space beyond the city limits therefore is predetermined for storage, settlement and disposal of what is socially peripheral. On the other hand the space beyond the boundaries of the city calls for this need for the city’s opposite: recreation, life in the green space, better air, less density and pollution. Living in the periphery therefore can be understood equally as Stigma and privilege.
The Tehran case study
Tehran’s peripheral geography shows a significant structural analogy with its social, environmental and psychological divisions: the northern periphery, reserved for the upper class in penthouse appartments and for recreation in the „clean air“ of the mountains, heavily contradicts the situation at the southern periphery, where smog and desert define the social life of the middle and low classes. While the geographical layout of the city with the mountains in the north and the desert in the south define a north-south axis, growth and development of the city are only possible on a west-east axis.
HASHTI as a discursive project in collaboration with Shadnaz Azizi, Kaveh Rashidzadeh, Amir Tehrani and Pouya Sepehr and explored in four printed booklets, examines the different strategies of urban planners, architects and sociologists in these areas. How is traffic, how are meeting places, contact zones, gardening controlled and defined? And how do these spaces relate to the definition of interior spaces, the living room as a main forum in a society that regulates public space.
NORTH (TOCHAL)
In the north of the city lie Alborz mountain, reaching up to 5600m with its highest peak Damavand. It is the main water reservoir for the entire city. Alborz is not only used by tourists for hiking and skiing but also by Tehranis as an area for urban recreation. The northern city limits directly border the area of Tochal mountain, whose peak is connected with the urban area through a 12km long funicular. A mountain area used by urban people as part of their urban life.
WEST (CHITGAR)
In the west of the city, north of Chitgar Park, the city limits currently extend again towards the foot of Alborz mountain with a complex of residential highrise buildings. While the structures itself provide housing for middle class families, the spaces „in-between“ are renaturated for recreational purposes, including the artificial so-called Lake for the Martyrs of the Persian Gulf. A „second nature“ is conceived, built and offered.
Concrete structures, open air pavements and boat cruises inaugurate a specifically cultural form of visibility, meeting and exchange, while „real nature“ is taking over: endemic birds started to settle and environmentalists, biologists and urban planners struggle with algae and mosquitos. How much „nature“ serves the purpose of a specific outer-urban residential middle class lifestyle?
EAST (PARDIS TOWN)
The social housing estate Pardis Town was built under the Ahmadinedschad administration 30 minutes by car east of Tehran. Cheap housing was constructed in 11 phases in the hilly and dry landscape. Neither shopping facilities nor schools or public transport were provided in the beginning. Here the question is turned upside down: How much „city“ is necessary to serve the basic daily needs of ten thousands of working class people starting a new life in an empty landscape?
SOUTH (NAFAR ABAD)
In Nafar Abad the relation between residential space and open space is designed differently: While the municipality demolishes the neighbourhood piecemeal to make way for the expanding needs of the adjacent Shrine, an important site for shia pilgrimage, the population temporarily inhabits the space in between the small scale residential buildings by setting up furniture, armchairs and chairs for local meetings, creating a subversive public version of the private living room.
Furthermore, the neighbourhood is the location for the industrial treatment of waste water from the entire city: The Tehran Wastewater Treatment Plant is situated in the vicinity. This is where the water, collected from Tochal Mountain and consumed by millions of Tehranis on its way through the city, ends up. In the south of the city, in districts like Shah-er-rey, the city boundaries reach towards the desert and the landscape gives a first insight of what will await those who will leave the city southbound: The gigantic and vast salt lake Namak, which contrary to Lake Chitgar is a natural lake but does not provide water or opportunities for leisure activities.

Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world.
Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit.
His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ökonomien des Handelns: KREDIT, RECHT, LIEBE.
Kötter`s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck).
His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14).
He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018)
www.danielkoetter.de
www.state-theatre.de
http://katalog.danielkoetter.de

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Mike Hannon films a lighthouse in Ireland. Taking liberty with some of traditional documentary conventions, he introduces mild incoherence to the triumvirate of rhetorical development, drama and realism, by blending imaginary facts with documentary style. Produced from an almost anthropological perspective, the film is formal in composition, and raises the question of the role of the participants in documentary as narrative characters. Daniel Kötter continues his research on the regulation, control and design of social areas. He films the city of Tehran, starting with the notion of the hashti, an octagonal room that leads to the private or public areas of houses. The suburbs of Tehran become transitional places between internal and external, urban and non-urban.

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface.
The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination.
They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.

Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum.
Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun.
Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles.
2016 Special Mention for the film Once We Get There Riga
2015 Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag”
2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject.
Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL
Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

The works of David K. Ross are concerned with the processes and activities which enable infrastructural monuments, cultural institutions, and architectural structures to exist. Using photography, film and installation to carry out these inquiries, he examines the performative capacities of un-scripted activities, along with the relationships that exist between the recorded event and its re-presentation in physical space.
These inquires have been applied to various projects including a study of the enigmatic activities of student land surveyors, the uncanny and oneiric qualities of a series of rooms at the Art Institute of Chicago, the nuanced and poetic movements of dancers about to perform, the mythic and sublime qualities of an urban lighting fixture in Montréal, the quietude of artists` storage spaces, and a close examination of colour coded art shipping crates.
Works by David K. Ross have been exhibited in major institutions in North America and Europe and are included in private and public collections including the National Gallery of Canada, the Musée d`art contemporain de Montréal and the Canadian Centre for Architecture. My films and video installations have been featured at CineMarfa (2012), Le Mois de la Photo à Montréal (2013), the Graham Foundation for Advanced Studies in the Fine Arts (2014), and in the Toronto International Film Festival Wavelengths programme (2015). A survey of recent works Positions, was exhibited at Dazibao gallery in Montreal in the fall of 2015. The Traces of Lost Facts, an installation based on the making of the film Théodolitique was mounted at the Rice Media Centre in Houston Texas in the autumn of 2016.

Sirah foighel brutmann, Eitan Efrat Orientation

Doc. expérimental | hdv | couleur | 12:40 | Belgique | 2015

Looking at two locations— the public sculpture White Square commemorating the founders of Tel Aviv, and the shrine of Palestinian village Salame in today’s Israeli Kafar Shalem—Orientation focuses on the ability of architectural material, and of sound and image, to register collective experience of forgetfulness.
In 1989, the Israeli sculptor Dani Karavan, completed his sculpture White Square. The work was commissioned by the Municipality of Tel Aviv, and by the end of the building process Karavan decided to dedicate the sculpture to the founders of Tel Aviv—among whom his father Abraham Karavan, who was the city’s landscape architect for four decades from 1930’s onwards. The sculpture is composed of simple geometrical shapes and is made of white concrete, influenced by the International Style of early architecture in Tel Aviv. White Square—situated on the highest point in the area located in the eastern outskirts of Tel Aviv—overlooks through the skyscrapers all the way to the Mediterranean Sea in the west. The commonly used name of the hill on which White Square is exalted is pronounced in Arabic: “Giv’at Batih” (Watermelon Hill).
The remains of the shrine of Salame, in today’s Tel Avivian neighbourhood Kfar Shalem is located a few hundred meters south of this hill. The abandoned dome-structure was once at the centre of the ancient Palestinian village Salame. The village, dating back to the 16th century up until 1948, was located on the highway from Jaffa Port to the mainland. During the ‘Nakba’ of 1948 it was occupied and depopulated by the Israeli Army and the new Zionist state. Weeks after expelling the Palestinian villagers from their land, the Israeli authorities—managing waves of Jewish immigration—re-inhabited the village with Yemenite Jews. Those, were settled in the original Palestinian stone houses. Today, decades later, the ownership of the land is still in dispute, and the Jewish-Israeli residents of Kfar Shalem are threatened with evacuation due to a construction-corporations’ plan to destroy the stone houses and to build a new profitable neighbourhood. Orientation is the second chapter in a series of works titled Gathering Series.

Sirah Foighel Brutmann and Eitan Efrat (both °1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the Audiovisual field. Living and working in Brussels.
Their works have been shown in filmfestivals as IDFA and Rotterdam Film Festival (NL); Courtisane (BE); New Horizons (PL); on ARTE/WDR; exhibited in solo exhibitions at Kunsthalle Basel (CH) and Argos (BE), and group exhibitions in STUK (BE); EMAF (DE) and The Petah-Tikva Museum for Contemporary Arts (IL). Their works have been produced by Auguste Orts and Argos (BE) and distributed by EYE institute (NL), they have won prizes in IMAGES (CA) and Oberhausen Film Festival (DE).
Sirah and Eitan have presented their work as featured artists at the 59th Flaherty Film Seminar (US), and have participated in artists talks and presentations in institutions such as FLACC, Genk, LUCA BFA class, Brussels, L`erg BFA class, Brussels, DocNomads 2014, and Bezalel MFA class, Tel Aviv.
Sirah and Eitan`s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; and the temporality of narratives and memory.
Sirah and Eitan are members of the artists-run collective Messidor

Michael macgarry Excuse Me, While I Disappear

Fiction | hdv | couleur | 19:10 | Angola | 2015

The film was shot on location in Kilamba Kiaxi, a new underpopulated city outside Luanda, Angola built by Chinese construction company CITIC and financed by Hong Kong-based China International Fund. The film follows a young municipal worker who lives by night in the old city centre of Luanda and works by day as a groundskeeper at the new city of Kilamba Kiaxi far away.

Michael MacGarry is a multi-award winning visual artist and filmmaker, having exhibited internationally for ten years including TATE Modern, Guggenheim Bilbao, 19th VideoBrasil, 62nd Short Film Festival Oberhausen, International Film Festival Rotterdam and Les Rencontres Internationales. He holds an MFA from the University of the Witwatersrand (2004). MacGarry has been researching narratives and histories of socio-economics, politics, forms and objects within the context of contemporary Africa for over a decade. Frequently focused on marking key registers of modernism – MacGarry creates sculptures, films, installations and photographs which look at the contextual specifics of things and their place; how they are simultaneously distributed both as ideas and as objects in the world. His sculptural work is formed through processes of grafting and mutation, to produce fictional hybrids principally designed to question systemic paradigms: sovereign nationality; logics of making and meaning; power relations; notions of value, equity and progress as well as the relationship between industrial technology and African resources. In his filmmaking and photographic work these macro concerns often take the form of micro narratives, personal memory and subtle identity politics in spaces where contemporary life is in a state of invention and flux.

Michelle deignan A Glimpse of Common Territory

Fiction expérimentale | hdv | couleur | 8:47 | Royaume-Uni | 2015

By exploring representation of time, movement, fact and fiction, `A Glimpse of Common Territory` tells of the unsettling distance between what we see, what we assume and what we know. Two aristocratic characters from an 1827 sci-fi novel, "The Mummy: a Tale of the Twenty Second Century", are invoked through the words of their author. We see them overlooking the landscape from an open platform within an uncanny architectural anomaly, a 127 metre cast concrete building in the centre of a housing estate. Together they confront a crisis, their new found awareness that what they perceive, see and control are completely fictitious. Though their negotiations are precarious they reach an understanding about how they can retain a semblance of control.

Deignan has exhibited her work in over 100 exhibitions, screenings and film festivals including: `New Work UK - Trust Yourself`, Whitechapel Gallery, London; `Europart - New Contemporary Art from Europe`, Vienna; `Terror and the Sublime: Art and Politics in an Age of Anxiety`, Crawford Art Gallery, Cork; `transmediale.08`, House of Cultures, Berlin; `Les Rencontres Internationale`, Gaîté Lyrique, Paris; Cork International Film Festival; `This Fanciful Digression`, CAN, Neuchatel, Switzerland; `Black Box Programme` at the Edinburgh Film Festival. Michelle Deignan`s moving image work is distributed by LUX.

On Google Earth, Esther Polak and Ivar Van Bekkum follow the inhabitants of Philadelphia by GPS. They are mobile points on a flat surface but we can hear them: they talk about meetings, visions, economics, politics and social lives, but they never seem to meet. David Ross compares the two practices of film-making and the ancient art of land surveying. He documents student surveyors as they carry out a topographical survey. Sirah Foighel Brutmann and Eitan Efrat film a district of Tel Aviv, in which there is a sculpture commemorating the founders of the city, as well as the vestiges of the sanctuary of an old Palestinian village. They look at the ability of architectural material, sound and image to record the collective experience of forgetting. Michael Macgarry films a young municipal employee of Kilamba Kiaxi, in Angola, a deserted city suburb built by Chinese companies, with capital from Hong Kong. From the top of a strange 127 metre high tower, built in an area with council housing, Michelle Deignan establishes dialogue between two characters out of a science-fiction novel written in 1827. Louis-Cyprien Rials bathes in the Semipalatinsk Test Site in Kazakhstan. A 400 metre wide crater, created by an atomic bomb in 1965: a lake filled with radioactive water, virtually as boiling hot as the fire itself.

Ghost Children, presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. Whose faces and memories are those ? The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.

High in the mountains of Lesotho, Mosaku is anxiously awaiting the return of his older brother from an initiation ceremony. The initiates spend 5 months in a remote secrete location. When the boys return, they are grown men.

Teboho Edkins was born in the USA in 1980 and grew up in Lesotho, South Africa and also in Germany. He studied Fine Art at the University of Cape Town, followed by a 2-year post-graduate residency at le Fresnoy, studio national des arts contemporains in France and then a post-graduate film directing program at the dffb film academy in Berlin. His films show at film festivals, television, museums, win awards and have been acquired by private art collections. He currently lives between Berlin and Cape Town.

Mike hoolboom Spectator

Film expérimental | super8 | couleur | 6:0 | Canada | 2017

Is it the oldest dream? Giving birth to my father. Shot on a single starry afternoon.

Mike Hoolboom is a Canadian media artist living in Toronto.

Lena bui Nang Bang Phang

Fiction | hdv | couleur | 50:1 | Viet nam | 2016

Giang visits her aunt Mười in the Mekong delta (Tien Giang) for the summer to give her mother personal space and time to sort things out.
The slow rhythm of countryside life, children’s games, and close relationship within the neighborhood help Giang forget about her personal troubles and the hot Mekong sun. Seeing her 60-year-old aunt constantly busy with farm work, Giang decides to help out.
The film develops through Giang’s perspective, weaving documentary foot- ages with a fictional storyline. Through Giang and aunt Mười’s developing relationship we get a sense of the slow and drawn-out rhythm of life in the rural South of Vietnam, the close contact between human and animals, the switch from traditional methods to reliance on industrial feed, concerns sur- rounding food safety, and the perception and interests of a typical farming household in the Mekong Delta. The film also introduces a new angle into the relationship between human and animals, and the inseparable ties be- tween life and death.

Born in Danang, Vietnam, 1985. She spent part of her childhood in Thailand before completing secondary and high school in Saigon, Vietnam. She has a B.A in East Asian Studies from Wesleyan University, USA and since 2009 has moved back to live and work in Saigon as a full-time visual artist. She is happy to tell stories using whatever medium available, from words, images, to sounds and space. She has exhibited in various museums and art spaces in Vietnam and abroad. Her experience with moving images started with video art works: Passage of the mass, 2014; The process of purifying, 2013, Where birds dance their last, two-channel installation, 2012. Flat Sunlight is her first film.

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Mélissa Epaminondi films her family vault in a Corsican cemetery. João Vieira Torres presents tales of early childhood. The memories related by different voices become confused, leading us to hypothesise about gender, memory and death. On a hill in Lesotho, Teboho Joscha Edkins follows a child awaiting their brother to return from a five-month initiation to become a man. Mike Hoolboom fulfils his oldest dream, giving birth to his father. Lena Nui follows Giong, an adolescent who spends her holidays in her aunt’s farm, in the Mekong Delta, in Vietnam, exploring the connection between human beings and nature, as well as between life and death.

He who walks down the street, over there, is immersed in the
multiplicity of noises, murmurs, rhythms. [â€¦] By contrast, from the
window, the noises distinguish themselves, the flows separate out,
rhythms respond to another. [â€¦] No camera, no image or series of
images can show these rhythms. [â€¦] The observer in the window
knows that he takes his time as first reference, but that the first
impression displaces itself and includes the most diverse rhythms
on the condition that they remain to scale. [â€¦] Rhythms always
need a reference, the initial moment persists through other
perceived givens.
Henri Lefebvre, Rhythmanalysis

Daniel KÃ¶tter is aÂ director and video artistÂ whose work oscillatesÂ deliberatelyÂ between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world.
Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit.
His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ã–konomien des Handelns: KREDIT, RECHT, LIEBE.
KÃ¶tter`s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/MÃ¶nchengladbach (with Constanze Fischbeck).
His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14).
He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018)
www.danielkoetter.de
www.state-theatre.de
http://katalog.danielkoetter.de

Rob todd Phases of Noon

Film expérimental | 16mm | noir et blanc | 11:25 | USA | 2016

Watching four species of paradise perform in four phases of noonlight reflecting on four film rolls, in four acts

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live.
His films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

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Daniel Kötter examines the notion of repetition and rhythm. A man walks down a street immersed in a multiplicity of noise. In contrast, from a window, rhythms respond to each another, on a different scale. Rob Todd establishes four acts, four paradises and four moon phases reflecting on the film. Maxime Rossi provides a series of images resembling a mental, visual and sound journey, close to the spirit of surrealism. He portrays a place permeated with the spirit of Max Ernst, by confronting two narrative forms. At night Sandro Aguilar films before and after the second kiss.